Compared with its close relative the flute (“flauto traverso”), the instrument range of the wooden recorder (“flauto dolce”) is more limited in terms of pitch and dynamics. This is one of the reasons why the recorder was replaced by the (traverse) flute in orchestras around the 18th century. However, recorders were very popular during medieval times and into the renaissance, and even in the baroque era famous composers such as Telemann, Bach, Händel and Vivaldi wrote pieces for these instruments.
Whether you’re following an authentic performance practice or you’re just looking for new inspiring sound sources – Historic Winds I offers some beautiful and unique instruments! This Collection features recordings of five rare instruments from the Renaissance and Baroque periods: Transverse flute, Baroque oboe, oboe da caccia, ophicleide and serpent.
This Collection contains instrumental rarities that are not only perfectly suited to score appropriate film subjects but are a real source of inspiration if you’re looking for all-new timbres and instrumental combinations in order to enrich your arrangements with new colors. Historic Winds II includes recordings of nine rare instruments of the Renaissance and Baroque era: cornett (zink), five crumhorns, and three natural trumpets.
For Historic Winds III the Vienna team captured a natural horn with ten different tuning slides (B basso, B alto, C basso, C alto, D, Eb, E, F, G, A) for utmost flexibility. The soloist was Marcus Schmidinger who performed all of the horn instruments in Vienna’s Brass I and Brass II Collections and also contributed to the Dimension Brass series. Apart from basic articulations and Performance Elements this Collection also provides fast interval performances in legato and marcato styles, performance trills, arpeggios (major, minor, and diminished in legato and staccato) as well as ornamental mordents.
The Alto Flute in G is a transposing instrument which extends the flutes' lower tone range. There are two types: the straight shape and that with a curved headpiece. A straight-headed model was used for the recordings. The alto flute has a full, warm sound suggesting mystery especially in the lower range.
The Viennese Oboe, which is played exclusively in Vienna, has retained its particular sound and form since the time of Viennese Classicism and developed independently of the French oboe. The bell of the Viennese oboe is bell-shaped while that of the French oboe is gently flared. The French oboe has a very assertive sound that can distinctly be heard in the orchestra, whereas the Viennese oboe tends to blend in more with the overall sound. Vibrato, one of the desirable techniques on the French oboe, is not usual in the Viennese style.
Both the instrument as well as the performance of bassoonist Stepan Turnovsky, a frequent first bassoonist with the Vienna Philharmonic, proved to be perfect for the Bassoon 2. His ability to play exceptionally broad tonal reaches, and to change his playing position to compensate for variances from note to note, coupled with the Vienna team's extensive array of mic positions, result in an extraordinarily precise sampled sound.
Once again, trumpet player Alfred (Freddy) Staudigl, one of Vienna Symphonic Library’s longest engaged musicians, proves to be an experienced master of his art. His skillfully crafted performances turn our Trumpet in Bb into an effective crossover instrument. In its expressive tonal range, the classic European style is expanded with more intense vibrato and brasher tones, while sacrificing nothing in aesthetics. In addition to a wider sound spectrum than provided by the Trumpet in C, the Trumpet in Bb also offers “Rips & Falls”.
During the recordings of the muted Trumped in Bb Alfred (Freddy) Staudigl has once again proven to be an experienced master of his art, expanding the classic European style with more intense vibrato, portamento, bends and falls, while sacrificing nothing in aesthetics.
The Flugelhorn in Bb is a member of the bugle-horns family like the euphonium or the (contra)bass tuba, even though the instrument looks rather like a larger trumpet. The name originates from the "Flügelmeister" of the 18th century, who had to coordinate various regimental flanks in a battle with blasts from the instrument. Beyond its use in military and marching bands it is a favorite solo instrument in jazz music today. Being almost as flexible as the trumpet, the flugelhorn features a much softer and warmer tone due to its cone-shaped and wide bell.